A more traditional vocal style mixes well with ODB, and his rhymes are effective too, and a keep a rap about an age old subject interesting. This one has an equal measure of ODB's singing and rapping, and singing, this song is mostly about ODB's sexual exploits, usually this theme dominates modern Hip Hop and becomes boring very quickly, but, as usual with the ODB, his frankly odd style. The beat is slow and very raw, almost completely a drum track, with a little ambience low in the mix.ĭamage begins with two girls discussing whether ODB is attractive or not, usually this would be a selfish thing for someone to put on thier first solo record, but as the one who does fancy him doesn't seema ble to explain why, he is aware of his unusual charm.

The Genius, who is the best traditional rapper from the Wu-Tang clan features on The Stomp, he makes for a very good Yin to ODB's Yang, with his great lyrics combined with ODB's powerful and origional delivery shining on this track. ''The Genooos'' ''The Genius'' '' The Genius!'' ODB challenges his own namesake, by claiming that the style isnt new, its something old and dirty. Method Man makes a good effort on this track, although I find the repeated metions of period blood annoying for this track. Another mixed soul beat (it sounds like it is played backwards) ODB boasts about still being on welfare on this track, a design based on his welfare card adorns the cover of this record. The next track features Method Man of Wu-Tang Clan fame, this one starts with ODB's singing after a gloating introduction. This one is mostly memorable for its chorus, this is one of the more relaxed tracks on the album. This is another short track, which is even shorter as there is a martial arts skit at the end. The piano loop returns to finish off this track. Once again this is much more rapping than singing. With guitar notes ringing in the background, with occassional electronic organs reminiscent of early New York Hip Hop. The song ends with Ol' Dirty Basard samples of ''shame on ya'' reminiscent of Shame on a Nigga from Enter the 36 Chambers.Īnother piano loop introduces Hippa To Da Hoppa, which then dissapears to another sparse mixed soul beat. Although, Ol' Dirty Bastard is not the greatest Hip Hop Lyricist, this is him at his best, and his delivery of his lyrics is whats important to focus on with his work. The next song Brooklyn Zoo is the best track on the album, another piano loop, this time however, the loop is much more jaunted than on Shimmy Shimmy Ya, and there is more rapping than Shimmy Shimmy Ya also, with some great lines such as, ''I drop science like Cosby droppin' babies, enough to make a nigga go craaazy!'' this is a very aggressive track, with a very heavy and a fast beat, for the Wu-Tang Clan. This is a great showcase of ODB's vocal style, with alot of lines starting as raps and ending up as slurred singing, in a great contrast to the steady bass lines. This song is quite short, but its repetitive beat may have become too annoying if it was longer, a highlight of the album.īaby C'mon has deeper bass, and distant guitar effects as opposed to the piano loop of single Shimmy Shimmy Ya, the deeper sound draws more attention to Ol' Dirty Basartds vocals, this is the first song on the album to recycle a line from Enter the 36 Chambers, the chant of ''Wu-Tang, Wu-Tang'' will be a treat for any fan of the origional 36 chambers. The line of ''Oh baby I like it raw'' will stick in your head for sure. This track sounds like a missing song from Enter the 36 Chambers, with its sparse and heavy beats, and ODB's erratic vocal rasp grabbing the listeners attention. The instantly recognisable piano loop for Shimmy Shimmy Ya, kicks in after the obligitary Wu-Tang film sample. ''We have only 35 Chambers, there is no 36'' Good introduction for the first listen, but at almost five minutes, not worth it everytime. Only really worth listening to every now and again, as the rest of the album is excellent. He begins mock crying and singing aswell, which is mainly confusing, singing for a girl whos pussy he misses.

His crack addiction is very prominent on this record, saying alot of things wrong, and generally slurring and stuttering his way through. The intro for this record is too long, it features Ol' Dirty Bastard introducing himself as Russel Jones, the now clichéd line of ''never before in the history of rap'' features, which always leads for me to doubt a record. the sparse beats and Ol' Dirty Bastards radical vocal style make this a very entertaining and origional Hip Hop record. Produced by Wu-Tang ''Abbot'' (never wanting to be known as leader) the RZA. This is considered one of the best Wu-Tang solo efforts, and it is the first one I have got (Liquid Swords in the post along with its imminent review).

Odb hippa to da hoppa lyrics